BALTIC Centre for Contemporary Art, Gateshead Quays, South Shore Road, Gateshead NE8 3BA

Gail Pickering: Mirror Speech

Gail Pickering, Near Real Time, (2014) Installation view BALTIC Centre for Contemporary Art, Gateshead

Inspired by a community built on shared technology and training, ‘Mirror Speech’ generates new community life from old in the simple act of production. Review by Dan Munn

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Kunsthalle Wien, Museumsplatz 1 1070 Vienna, Austria

Gareth Long: Kidnappers Foil

Installation view: Gareth Long, Kidnappers Foil, Kunsthalle Wien 2014, Photo: Stephan Wyckoff

Kidnappers Foil is both the title of an exhibition by artist Gareth Long and the title of more than 200 films by American filmmaker Melton Barker. From the mid-1930s into the early 1970s Barker ventured around the USA making the same film over and over. Most prints of these films no longer exist, but around fourteen have been preserved and Gareth Long will assemble and screen them for the first time since the films were made at Kunsthalle Wien.

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MOT International Projects, Unit 54, Regents Studios, 8 Andrews Rd, London, E8 4QN

Objective Considerations of Contemporary Phenomena

'Objective Considerations of Contemporary Phenomena', installation view, MOT Projects, London

‘Objective Considerations of Contemporary Phenomena’ investigates the uses and possible abuses of written, spoken and constructed forms of language, presenting new commissions and existing works by Nicole Bachmann, Kenneth Goldsmith, Patrick Goddard, Lawrence Abu Hamdan and Kim Schoen with contributions from Nina Power, Jean-Marie Straub and Danièle Huillet. Review by Anneka French.

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Gimpel Fils, 30 Davies Street, London, W1K 4NB

Shana Moulton & Lucy Stein: Retention

Shana Moulton & Lucy Stein, 'Retention', installation view at Gimpel Fils.

Shana Moulton’s sculptural video installations visually weave their way between Lucy Stein’s paintings, embracing their pastel and earthy tones to construct a pastiche of whimsical and essential femininity. Review by Fiona Haggerty.

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Lisson Gallery, 27 Bell Street, London, NW1 5DA

Jonathan Monk: I ♥ 1984

Jonathan Monk, I Heart 1984, installation view at Lisson Gallery, 2014

Jonathan Monk’s latest show at the Lisson Gallery interweaves personal artefacts with found objects and merges the two together to show a dense narrative of influences and references. Review by Louisa Lee.

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Glasgow Women’s Library, 23 Landressy Street, Glasgow, G40 1BP

HOUSE WORK CASTLE MILK WOMAN HOUSE

House Work Castle Milk Woman House, Books

HOUSE WORK CASTLE MILK WOMAN HOUSE seeks to record the history of the 'Castlemilk Womanhouse' project in a way that resists reducing it to a one-dimensional, mythological ‘participatory’ piece, retaining feminist politics by writing narratives from the ground up. Review by Catherine Spencer

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North East Contemporary Visual Arts Network (CVAN)

The work of Faye Green

Commissioned by the North East Contemporary Visual Arts Network (CVAN), this is one of eight films that will be exclusively launched on the site over the next eight weeks.

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Kunstraum, 15a Cremer Street, London, E2 8HD

Nicoline van Harskamp

Nicoline van Harskamp at Kunstraum, London, 2014.

At Kunstraum, London, Nicoline van Harskamp presents her ongoing project 'Englishes', which imagines and represents a situation where English speakers world-wide rid themselves from a single native-speaking standard of the language and co-opt multiple versions towards emancipatory or creative ends. Review by Cathy Wade.

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Matt's Gallery, 42-44 Copperfield Road, London, E3 4RR

REVOLVER II, Part Three: Perform

Patrick Goddard, Free Radicals (2013).

It’s the final leg of Revolver II at Matt's Gallery, with work by Patrick Goddard, Jaki Irvine and Lucia Nogueira in the galleries and Craig Barnes' ‘Centre for Remote Possibilities’ streaming worldwide. Review by Beverley Knowles.

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Louisiana Museum of Modern Art, Gl Strandvej, 13 3050 Humlebæk, Denmark

Olafur Eliasson: Riverbed

Installation view of Riverbed at Louisiana Museum of Modern Art

Since the beginning of the collaboration it has been clear that a solo exhibition of Eliasson’s work at Louisiana would inevitably be a radical, site-specific exhibition dealing with the reality of the museum as an institution and physical locality, and at the same time would focus on local sensory experience in a global perspective. The transitions between inside and outside, culture and staged nature will become fluid and transitory – and the progress of the visitor through the museum will take centre stage.

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